Review: Not much is known about A001 except that he released an EP last year on Bas Mooy's label. This follow-up starts with "Isoptero" a rattling, rolling techno track that sounds like Shed on steroids. From there on in, the release gets more visceral; "Anglo" is a noisy, industrial stepper, powered by punishing subs and rickety drums, while on "Scotoma" the groove is straighter and more linear but the kicks are left in the red as banshees wail away in the background. "Amatho" is even more intense, with doubled up kicks underscoring the sound of a thousand metal rods being dropped down a concrete staircase.
Review: Take Cover! MORD's army are on the march again and this time it's led by the darkly military stomp of new name A001. With artwork reminiscent of The Ring, there's no escaping the feeling that all these tracks are possessed with a sinsterism the label has been cultivating since it took off in 2013 with music by Radial and Charlton. Fans of Perc & Truss' music should head straight to "Pnigero" while for Tommy Four Seven blasts of industrialism check out "Partheno". "Gyno" is the deepest production of the EP with a synth gurgle that sounds like it's come from a sewer, while "Noverca" is a reverberant drum track you'd expect to hear Dettmann drop. And to get dancers feet into overdrive there's no looking past opener "Caligyne".
Review: There's a formidably tough and intense feel about this collection of no-holds-barred techno slammers from Ansome, aka London-based producer Kieran Whitefield. The pounding title track sets the tone, with clanking, industrial hits and distorted noises riding a thunderous kick drum-driven rhythm. The accompanying remix ups the tempo considerably, and is so fearsome it probably shouldn't be played to small children or elderly relatives. Elsewhere, there's some wayward techno-funk in the shape of "Clodgy", a bubbling splurge of foreboding late night murkiness ("Halyard Hitch"), and a sprightly - if tough - trip into horror-influenced analogue funk territory ("Kitty"). All six tracks are, as they say, "nails".
Review: It's strange to hear a techno producer playing around with the title of the Pogues' best album, but Rage isn't a typical club release. Sure, Dutch producer Bas Mooy goes for the jugular on every occasion, but not in a predictable way. "Kaayman" is as grungy and acrid as Shane McGowan's dental hygiene, with buzz-saw riffs cutting through the dense rhythm. "Son of Sins" travels down a different path, with what could be a vocal sample amid its pummelling tribal rhythm, an element that gets deeper and more ponderous as the arrangement unfolds. That's not to suggest that Mooy has gone soft in his old age and "Rage" is a mean serving of tribal techno, replete with a deranged air raid siren.
Review: Rotterdam's Bas Mooy is no stranger to a bit of techno given his involvement in the European scene as a DJ since the late '90s and as a producer since the early noughties. He's appeared on countless labels including his own Audio Assault, the dread Mote-Evolver, Perc Trax, and even for the more recent Mord. The flying Dutchman returns to the latter with four guaranteed floor missiles, the first in the shape of grainy 4/4 beats and ringing melodies under the name "Men On Wire", a tune that's rapidly turned even darker and more pumping by the no nonsense AnD duo. Over on the flip, "A Feast For Crows" bangs its 909 away left, right and centre amid chilling walls of electrifying sonics, while "Nearby Silent Horses" channels that fury into a more compact techno bombshell for the peak time. Tough and driving.
Review: Bas Mooy's label drops its most adventurous release yet. Paul Birken has been operating at the fringes of techno for years and puts out the kind of rough analogue music that would make the industrial art school boys shiver with fear. Distorted drums, intense and in your face volleys of percussion set the scene on this three-tracker. "Big Rig Barnacle" displays some musical leanings via its woozy chords and "Funnel Fiends" goes the opposite way thanks to its acid emissions. But the best thing about Birken is his sheer unpredictability and "Repeat Offender" sounds like a hard techno arrangement pulled apart, distorted to the max and then randomly reassembled.
Review: Charlton Ravenberg returns with his Chaotic Behaviour, where hard, simmering kicks and minimalistic melodies are the name of the game. The title track itself is a beastly techno workout with no mercy, while "Hypersalivation" is acid-driven and even nastier than the title track. "The Road To Emptiness" reminds us of an old DJ Rush cut - morphing basslines and relentless beat arrangements, while Cassegrain puts in a fine performance on his remix of the same track and delivers a bouncy 4/4 belter for the smaller hours.
Review: Usually, using the word 'intelligent' in the title of a release is reason enough to ignore it, but not this time. That's because Charlton is one of the most inventive new techno producers out there, and his music does indeed have a studied feel. Not in some kind of highfalutin manner, rather that he has absorbed and has assimilated so many varying elements and made them his own. From the insistent, visceral Hood-style minimalism of "Vulnerable" into the grungy stomper that is "Unforgiven", he has a better handle on the harder end of the spectrum than most of his peers. Crucially though, he also understands the importance of seduction by stealth rather than brute force and the shady, dub nuances of "Stand Behind a Lie" is the highlight of this release.
Review: Charlton Ravenberg has released primarily on Bas Mooy's Mord label, but this young techno producer's approach wouldn't sound out of place on a DJ Rush record. Like his previous Mord outings, Forgotten is a dense and brutal high-tempo affair. Stomping, distorted drums, tortured shrieks and levels pushed into the red define tracks like "Rough Times" and "Behave", while at other moments, Charlton decides to just reduce his sound down to a pounding, dirt-caked industrial rhythm like on "Elongation". However, it's not all panel-beating intensity and as a parting shot, he delivers "Dirty Questions", where complex metallic rhythms flutter and pulse in a rare moment of
respite for his machines.
Review: Can D Carbone maintain the peak of his and industrial techno's plateau? Considering he's one third of Repitch Recordings with Shapednoise, yes. This release for the furbished MORD label follows editions from Radial, Paul Birkin, Bas Mooy and UVB. And as the label's catalogue numbers move further into double figures, Carbone serves up a dynamic four-track EP of blistering techno. "Irritating Collapse" is hard, '90s acid terror only slowed down, while "Origin" is sludgy, but still has that rough, Tresor-techno vibe. The beat and caustic metallic clusters of "Discernment" sound like they've come from a Gotham City sewer while the atmospheres and distorted bass stabs of "Machine Elves" are reminiscent to what can sometimes be heard in Milton Bradley's The End Of All Existence concept.
Review: While the dance music media has focused heavily on Italian techno in recent years, it has mainly been about the tranced out, hypnotic sound.There is a far more abrasive undercurrent in Italy - inspired undoubtedly by Rome's early 90s sound - one of whose main protagonists is Repitch boss D.Carbone. "Cultural Collapse" captures the sense of unease that surrounds Carbone as pile-driving kicks are fused with a distorted juggernaut rhythm. "The Observer" is less intense and revolves around a pulsing, strobo-groove, but it's only a temporary diversion. "The Mutant's Law" sees Carbone rain down acid-laced, distorted techno, while "Anti-system" is a coruscating, hollowed out peak time groove.
Review: Anom Valley follows Damcase's recent outing on Bunker and positions the Greek producer as a leading light in hard techno. There is a rough, raw feel throughout this release for Bas Mooy's label; "Delete Scene" is mired in distorted kicks and noisy, barb wire percussion and both "Rusty" and "Towards Them" resound to titanium-powered steel drums. "Interlogon" is probably the most extreme track, thanks to its grisly, punishing rhythm, but Damcase also has a funkier side. He showcases this on "Rn 45" and "X Gun", where hypnotic electronic pulses, although encased in weeping layers of white noise, see him get his groove on.
Review: Diabla Diezco is a collaboration between Mord owner Bas Mooy and Charlton, who has previously released on the label. The project has yielded a few EPs, but Memento Mori is their most impressive release to date. "Wenkbrauw" hits like a sledgehammer to the head with its pummelling kicks and layer upon layer of sheet metal percussion. Opting for a different tact but achieving the same outcome, the pair drop broken beats and swirling filters on "Karkas and "Sixth", while "Graveyard" is a heads-down banger that resounds to tortured shrieks and panel beating rhythms. As industrial techno releases go, Diabla Diezco is out on its own.
Review: The first seven installments of the Herdersmat series comprised a vinyl box set. Now this eighth series sees four upcoming techno producers feature on one 12 inch. Dimi Angelis puts a focus on angular Detroit techno with the jittery "Green Aviation". Sciahri from Italy goes harder and heavier with the tough kicks and resonating bass of "Perplexity" and Endlec, who has already released a number of EPs on the label, puts the focus back on abrasive, hard-hitting techno courtesy of "Neurofunk". Tripeo's "Yfur" inhabits a similar space to Dimi Aneglis - but as always, the sense of menace remains thanks to its meaning, eerie synths.
Review: Rotterdam's Mord continues with its consistent onslaught of peak time club destroyers, proving they really are the techno label of the moment! Who better to carry on the torch than the legendary Brendon Moeller, under his Echologist alias. In the past known for his dub techno explorations, these days known for relentless grooves. With its tunnelling melody, sinister synth squelches and monstrous kick drum, lead track "Shake Well" ticks all the right boxes. "Inside Dimensions" is the absolute peak time weapon on this one, which tears the through the speakers like a post-apocalyptic steam train. The mayhem continues with the sinister modular workout of "Lucky Bastard" as good as anything by Mike Parker or Steve Bicknell did recently, but the restrained energy of "Transformer" and "Penetration" provide equally worthy DJ tools for different circumstances.
Review: Echologist is one of Brendon Moeller's projects, and not an alias one might immediately associate with Mord. That said, this EP contains quite a kick. "Raise" manages to combine a weighty dub bass with powerful drums and vast swathes of cubby reverb. It's deep and textured but is also massively forceful. On "Slight Detour", Moeller heads into a tougher, even more linear direction: the kicks are pounding and the percussion nags and rattles relentlessly as a wall of layered effects ebbs and flows. "Dispatch" is deeper and more subtle thanks to Moeller's use of mesmerisingly hypnotic chords, but it's only a temporary divergence and soon enough, he returns with the skeletal break beat techno of "Walrus".
Review: Is Endlec's latest release on Bas Mooy's label a soundtrack for these dark days of global uncertainty? Certainly, "Something More Sinister", with its splintered analogue riffs and hammering rhythm, captures the terrifying mood surrounding regime change in the US, while the heads-down, cyber-techno jack of "Dystopian Heart" and "Population Control" act as warnings of further bad things to come. Despite these somewhat chilling titles, the Greek producer knows how to craft a hypnotic sound. "Consistency & Patience" resounds to a mesmerising, layered rhythm, infested with wild electronic blips and bleeps, while the noisy, siren riff-led "Fight for the Power" is the naked, angry sound of the resistance.
Review: Endlec's second release on Bas Mooy's label is an uncompromising affair. Right from the get-go, the listener is bombarded with intense techno. "Disharmonic Life" is a distorted, jarring affair, while "Force of Nature" sounds like Endlec is dropping iron bars over a rusty drum pattern. Things take a slightly more esoteric turn on "The Substantial One", which could be the producer's gritty take on Jeff Mills' space techno, but soon enough the release swings back towards tougher sounds. The gained filters of "Atitlo" and the Armani-style stomp of "The Sanatorium Age" show that when it comes to tough, peak-time techno, Endlec and Mord have few peers.
Review: Oracle is Haeken's first release, but it shows that he has come with a fully-formed identity. "Oracle 1" and "Oracle 3" are pounding, minimal techno affairs, punctuated by scratchy riffs, lean, metallic claps and raw, sinewy rhythms. On the second "Oracle" the Dutch producer disappears down a dense, bleak tunnel. The kicks are rough, the tonal signals frazzled and fuzzy and the overall result is like Sandwell District jamming with Mord owner Bas Mooy. The fourth installment is redolent of Mike Parker's brand of dance floor claustrophobia, with hypnotic sequences and firing snares prevailing. The fifth and final "Oracle" brings an impressive end to this accomplished debut release with a pounding but deeply hypnotic groove.
Review: He/aT is another project from Chris Finke, the UK DJ/producer responsible for the Bodyjack alias. As this release on Bas Mooy's label shows, it is dedicated to gritty, lo-fi techno and a disregard for political correctness. Both of these values are in abundance on opening track "I've Never Been To Bed With An Ugly Girl But I've Woken Up With A Few". Loose, industrial drums beat manically as Finke grapples with droning textures. "Live & Don't Learn" is similarly minded with acrid acid lines unfolding over a primitive backing, while on the title track, Finke delivers a slightly more conventional loop techno workout. It's only a temporary blip though and "Thy Will Be Done" is a wonky arrangement that recalls the offbeat brilliance of Neil Landstrumm.
Review: Bas Mooy's label showcases more techno talent in the shape of Jokasti & Nek. Alex.. is the pair's debut release and it is a relentless, heavy affair "Ektroma" is a banging minimal techno number, peppered with intense bleeps, while the title track sees the pair going down an even harder route, led by concrete-weight kicks. "Bumrush", though not subtle by any stretch of the imagination, sees the pair opt for a stripped back groove, replete with a hiccupping vocal sample. However, it turns out to be just a temporary distraction. Straight afterwards they conjure up "Funk You", a hammering, relentless drum track populated by ominous bell chimes and distorted kicks, while the malevolent acid of "Bassball Bat" would give the Liberators a run for their money.
Review: Jokasti & Nek debuted on Mord back in 2017 and now make their return with a firing follow up. "Decisions" is a visceral minimal affair that's led by a driving rhythm and ticking percussion, while on "Atp", they embark on a more abstract route, with the stepping groove underpinned by groaning electronic riffs. The title track sees them return to minimal techno, but this time with a cleaner sound and its driving rhythm and cold bleeps sees them navigate their way through Sleeparchive-style tonal repetition. Meanwhile, "How Low" is a rough peak time banger that resounds to grating drums and garbled electronic noise and "Green Disc" is a pounding Mills-style affair.
Uncontrollable Process Of Self-destruction - (7:53) 124 BPM
Ultraviolence - (5:50) 128 BPM
Fallen Into Fear - (6:38) 128 BPM
Death Is Not Defeat - (7:05) 128 BPM
Death Is Not Defeat (version 2) - (7:10) 126 BPM
Escape To Nowhere - (7:06) 128 BPM
Review: Here's more heavy techno sounds on Bas Mooy's label, this time courtesy of Spanish producer Kwartz, known for releases on Warm Up and Pole. The Zooloft-inspired title of "Uncontrollable Process Of Self-Destruction" reveals itself to be for more than an exercise in poor English with FUSE-style bleep-notics fused with dreamy hardcore synths. By contrast, the aptly-named "Ultraviolence" is a thing of extreme danger as its wiry, broken rhythms and lashes of percussion seep over and gnaw at the listener's synapse. Two versions of the title track are also included, with Kwartz laying down the kind of dark, slightly distorted pulsing rhythms and steely percussive builds that Mord has become synonymous with.
Review: Bas Mooy's new label is releasing some of the more interesting hard techno, and Misfit is no exception. "Sama Doma" mixes up the rolling monotony of loop techno with eerie textures and granular, off beats. "DHC3" disappears farther down the wormhole as oppressive drums simulate the sound of metal panels being torn apart. Somewhere in the middle of this chaos there lurks a hautning, spooky vocal. Forward Strategy Group is quick to capitalise on its sombre tones; the duo's remix of 'Doma' chops up the vocal and sets it to a jittery rhtyhm. There are no such subtleties on Truss' take on "DHC3" however, with a screeching filter set to distorted kicks.
Review: Milos Martinov follows last year's Misfit debut release on Mord with this equally dark record. "Trema" is exactly the kind of dense, rolling techno groove that you'd expect to hear on Bas Mooy's label, with grainy drums and a juggernaut rhythm prevailing. Clouds' remix ramps up the pressure further, a heavy, loopy affair that could be Ben Sims on steroids, while the label owner delivers a pounding, abrasive take on "Kontrola". However, it's the original version of this track that really stands out; less direct and upfront than the other tracks, it still captures the listener's attention thanks to its furious, lurching rhythm and disturbed, high-pitched vocal samples.
Review: This is Lag's third release on Mord and it showcases again his raw, unpredictable sound. "Stari Grad" moves from thumping broken beats into dramatic stabs and breathy vocals. It makes for a jittery but individualistic sound. On "Salajka", the upcoming Serbian producer borrows from the cheeky vocal samples and lo-fi jacking aesthetic of ghetto techno to create an insistent but memorable dance floor track. "Liman 2" sees Lag revert to Mord norm; dense kicks, rickety rhythms and ghostly vocal samples all collide to create exactly the kind of track that label owner Bas Mooy will champion. But taking the obvious route is clearly not part of Lag's DNA and "Detelinara", which revolves around spacey sound-scapes and rickety percussion, proves this point.
Review: The mysterious Lockertmatik, who runs a label of the same name, debuts on Bas Mooy's Mord. "Interlock 1" is a stomping, bleep-heavy affair, laced with siren stabs. Its grey, monochrome nature makes it sound like a cross between Sleeparchive and Marcel Dettmann. On the second "Interlock", there are hints of early 90s UK techno influences - brought to life on the InSync-like riff that plays away in the background, but the dominant element is the dense, hammering rhythm. "Interlock 3" and "Interlock 4" both see the producer ramp up the intensity with thunder claps, rock-hard kicks and acrid acid lines, while a nightmarish scenario is presented on the fifth "Interlock", as droning synths are fused with intense, 303-laced kicks.
Review: The fact that the title of Neil Landstrumm's latest release sounds somewhat romantic probably isn't a coincidence. The title track sees the Scottish producer take inspiration from the golden age of dance music; the groove is redolent of bleep techno, while the bass and accompanying ghostly samples influenced by the spookier end of UK hardcore. The sum of these parts is then delivered with Landstrumm's innate sense of wonky funk. Serbian newcomer Lag is the first to offer a reshape and delivers a bruising but controlled version inspired in part by Reese break-beat techno; noise-nik Ansome follows with a leathering big room version laden down with white noise and tortured shrieks, while rounding off the release is the mysterious Headless Horseman with an acid-laden stepping version.
Review: With Tensal debuting over at Oscar Mulero's Pole it seems the Spanish techno legend has used this as an opportunity to send his music elsewhere too. Take a look at the list of artists that have contributed nihilistic abrasion to Bas Mooy's label and Mulero is a glaring omission. Mooy and Mulero (surely a collaboration to come) make up for this by agreeing to bear five Mulero productions under the MORD banner, kicked off by the big room acid of "Sensory Deprivation". "Misophonia" slams down hard like a Mulero production should with bleeps, distorted tones adding some gritty funk to a game Mike Dehnert thought he'd monopolised. Deepest section of the EP is "Spatial Sequenced Synthesia" and staying down low is the sub-aqueous strafing of "Common Frequencies". Mulero's formula is unbeatable right now, and for something a little stripped back with less reverb check "Number Form".
Review: Mord is one of techno's most important labels and this release from Progression shows exactly why the label is so revered. The work of a Dutch duo, it twists and teases it way through the typical peak time Mord sound with great skill. The title track sets the tone with its thumping drums, dark filters and wigged out subsonic bleeps. "Omicron" is similar, but on this occasion Progression put the focus on tight claps and a hypnotic, heavy pulse. "P&K" leads with screeching sirens and bass tones that drop to supernaturally low levels. "Diminished' sees the pair opt for a more stripped back, minimal sound, but it's only a temporary break and straight afterwards, they return with the visceral acid of "Surge".
Review: Bas Mooy's new label launches in style with an EP from Radial. Alternating between straight, batten-down-the-hatches techno and swinging, loose rhythms, it will appeal both to those who want to play linear sounds and anyone looking for a more offbeat take on modern techno. Radial caters to the first cohort with "Asiel", a tunneling affair punctuated by shards of psychedelic, metallic sounds and "Closer" a pounding track bolstered by dubby drums and intense panel-beating. But when Radial goes down a less obvious route, the results are more interesting; "1980" features a screeching vocal and stuttering tribal drums, while "NYE" is a lithe percussive affair punctuated by smart filters and a woman commanding 'repeat after me'.